Are you a George Jones guy in a Garth Brooks world? A Loretta Lynn gal trying to understand why people still call Shania Twain a "country" artist?

Well, then this website is for you! Here's your chance to read all about Nashville pop, from the late-'50s "Nashville Sound" and the countrypolitan scene of the '70s to today's chart-toppers and pretty-boy hat acts, seen through the lens of DJ Joe Sixpack, a hick music know-it-all with a heart of gold...

Your comments and suggestions are welcome, particularly suggestions for artists or albums I might have missed. Other types of twang are reviewed elsewhere in my Hick Music Guide.

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Warner Mack - see artist profile



Rose Maddox - see artist discography



Lloyd Maines & The Maines Brothers Band - see artist profile


Natalie Maines "Mother" (Columbia Records, 2013)
(Produced by Ben Harper & Natalie Maines)

I don't begrudge Natalie Maines wanting to do a rock record, though this isn't really my kind of music, I do wish she and the other Dixie Chicks had gone on to make a couple more records as good as the band's post-Nashville swan song, Taking The Long Way. Still, she's the artist, and she should do what she wants. However, I was a little irritated by an interview I heard her give on NPR where she went off on this riff about how she was never that into the whole Dixie Chicks sound, and how country was never really her thing, and she never really knew that much about the style. Seriously? Your dad is steel player Lloyd Maines, your Texas uncles were all in a popular regional band together, one they took over from their dad who started it decades earlier... and you were never really that aware of country music or what it was all about? Yeah, right. I dunno... maybe she was just pulling a fast one on the fawning interviewer, or maybe she really was being incredibly disingenuous... But it seems to me that you could walk away from country music and still not completely disown it, no matter how rude all the Nashville folks were to you over the whole George W. Bush thing. Why let those people chase you away from your own roots? Anyway, here's doing a whole slick rock/pop thing, including covers of Pink Floyd and whatnot. Doesn't really work for me, but I guess a gal's gotta do what a gal's gotta do. It's way better than that Court Yard Hounds album, at any rate.



Raul Malo - see: The Mavericks



Barbara Mandrell - see artist profile



Louise Mandrell - see artist profile



Lorene Mann - see artist profile


Dean Manuel "Town And Country Piano" (Starday Records, 1962) (LP)


Dean Manuel & The Jim Reeves Blue Boys "The Late And Great Dean Manuel" (Starday Records, 1965)
Steel guitarist Pete Drake gets a special second-billing on this album which was a posthumous homage to pianist Dean Manuel (1934-1964) who died in the same 1964 plane crash that killed superstar vocalist Jim Reeves.


Marcel "You, Me And The Windshield" (Mercury Records, 2003)
Well, say what you will, this guy has a pretty distinctive voice. Contrivedly confessional, teeny and reedy sounding, but distinctive. I dunno if that'll be enough to elevate his patently generic, cluttered soft-rock country above the common herd, but it might be. This is mercilessly, meticulously crafted Nashville uber-pop, the gimmicky kinda stuff that sucks you in, try as you might to resist its formulae. Even so, he seems like a pretty minor player, and the longer this album goes on, the less you want to listen.


Linda Martell "Color Me Country" (Plantation Records, 1970) (LP)
(Produced by Shelby Singleton)

Oh, the indignities. That one of the first female African-American country stars should have such a humiliatingly obvious album title... And that it came out on the Plantation label, no less. Anyway, with a background singing gospel and soul with her family band in South Carolina, Linda Martell is said to have been the first African-American woman to play the Grand Ole Opry... She made a few appearances on Hee Haw in the early '70s, as well... Many years before her country career, she recorded an R&B single with a group called the Anglos... and this album is her legacy as a country gal.


Brad Martin "Wings Of A Honky Tonk Angel" (Epic Records, 2002)
(Produced by Billy Joe Walker, Jr.)

Likeable but lightweight hat-act country pop with a vestigial trace of honkytonk in there... somewhere. Martin has a nice voice, though it's easy to fault his lack of grit. The mid-tempo novelty tunes are okay, though nothing really stands out; meanwhile the ballads -- "That's A Woman," etc. -- are 100% horrible. Producer Billy Joe Walker, Jr moves a rotating cast of studio pros in and out -- various steel players, electric guitarists and whatnot. There's certainly a lot worse that's come out of Nashville over the years, but truth be told, not much sticks to the ribs here. It's worth noting, though, that Martin wrote most of the tracks, so kudos for that.


Daniel Lee Martin "All That I Am" (Chin Music, 2003)


Daniel Lee Martin "On My Way To You" (Chin Music, 2007)
(Produced by Jan Stolpe)

A fine, independently released set of would-be Top 40 country, from the huge wellspring of talent bubbling under the surface of the Nashville hit factory. Martin has the same sort of gosh-heck, down-to-earth boyish charm as Dierks Bentley, and the same willingness to go with the flow and sing mainstream material, yet still infuse it with a sense of fun and conviction... The tracks have a lot of rock-tinged guitar, but there's still plenty of twang, and nothing ever drowns in over-the-top pop (ala Tim McGraw), so by default Martin emerges as a member of the traditionalist side of contemporary country... I guess these off-the-radar releases mostly function as demo tapes and (hopefully) stepping stones to bigger and better things. Choice tracks include "That's What God Made Rivers For," "Just What You Did" and "Crazy's All They Got," as well as his earnest covers of oldies like "Take Me Home Country Roads" and "Keep You Hands To Yourself." Top Country fans who appreciate the earthier, more honest singers such as Bentley and Blaine Larsen will also want to check this guy out... Even if he doesn't make it to the top of the charts, it's still a pretty solid record, and shows how strong the independent side of Music City can be.


John Arthur Martinez "Spinning Our Wheels" (Jam, 1998)


John Arthur Martinez "On The Border" (Texas Song Records, 2001)


John Arthur Martinez "Stand Your Ground" (Jam Records, 2001)


John Arthur Martinez "Lone Starry Night" (Dualtone Records, 2004)
Austin native Martinez was a second-place runner up of the cable TV country music talent show, Country Star, the Nashville version of American Idol, and on the opening track of this new album, you can see why he made it to the top of the pile. He's likeable and confident, and with the right backup behind him, he can really carry a tune. That song is the highlight of this disc, though -- there are a couple of nice acoustic Western swing tunes not far behind, but the album soon devolves into material that has a feel that's all too familiar to folks who've heard a few of the gazillions of self-produced country records out there today. Martinez is the top of the heap when it comes to that kid of country, but he hasn't yet transcended the limitations of the style, although his bilingual lyrics and nods towards Tex-Mex culture (as on "Tonight At Fiesta") bring something new to the mix. Martinez recorded a couple of self-released albums before this -- 1999's Spinning Our Wheels and Stand You Ground, in 2001 -- and one hopes that he'll keep working at it; it'd be nice to see that the little guys can still crack into the big time.


John Arthur Martinez "Rodeo Night" (AGR Records, 2007)


John Arthur Martinez "Purgatory Road" (Apache Ranch Records, 2009)
(Produced by Lew Curatolo)

Martinez settles into more of a philosophical singer-songwriter/rootsy mode, sounding an awful lot like Rodney Crowell on many of these tracks. Folks who like Rodney's more serious, poetical recordings might wanna give this one a try. All but two of the songs are Martinez originals; one of the two non-jAm songs was written by Walt Wilkins, the doleful "You Can't Outdrink The Truth," which is an album highlight...


Mila Mason "That's Enough Of That" (Atlantic Records, 1996)
(Produced by Blake Mevis)

Kentuckian Mila Mason is an adequate singer, backed by fairly run-of-the-mill country-pop arrangements, roughly in the Martina McBride/Shania Twain neck of the woods. Didn't really rock my world, but there are some glimmers of ruggedness and vigor in her presentation, though mostly it's pretty glossy and generic. Nothing special, really. The title track was a Top 20 hit, as well as a career highwater mark.


Mila Mason "The Strong One" (Atlantic Records, 1998)


Mila Mason "Stained Glass Window" (Twinbeat Records, 2003)


A. J. Masters "Back Home" (Bermuda Dunes Records, 1986) (LP)
(Produced by Larry Hinds, Billy Sanford & A. J. Masters)

A commercially successful Top Forty songwriter, Californian Arthur John Masaracchia (1950-2015) had modest success as a performer, landing a handful of singles into the back forty, including several from this album. Over the decades, many of his songs were recorded by Nashville stars, including Jennifer Hanson's "Half A Heart Tattoo." The studio musicians here included Lloyd Green, Mark O'Connor, Billy Sanford, Bobby Thompson and Glenn Worf -- as far as I know, this was Masters' only album, although he released a bunch of singles, also on the Bermuda Dunes label.



Kathy Mattea - see artist discography


Matthews, Wright & King "Power Of Love" (Columbia Records, 1992)
(Produced by Steve Buckingham & Larry Strickland)

This trio -- Raymond Matthews, Woody Wright and Tony King -- had kicked around on the margins of Music City, scoring minor hits while in a couple of obscure bands a decade or so earlier. This album was their shot at the big time, and while the commercially promising title track fell just short of the Country Top 40, their followup album went nowhere chartwise, so that was pretty much it for these guys. For their fans, I'm sure it was a big disappointment, and no doubt they had a bunch of diehard fans at the time... Folks nowadays who are able to track this disc down may still enjoy its easygoing sound, with soft vocals and windy melodies that bring to mind bigger hitmakers such as Ricky Skaggs and Shenandoah. Not bad.


Matthews, Wright & King "Dream Seekers" (Columbia Records, 1993)



The Mavericks - see artist discography



Dale McBride - see artist discography



Martina McBride - see artist discography



C. W. McCall - see artist discography



Charly McClain - see artist discography



Delbert McClinton - see artist discography


The McClymounts "Wrapped Up Good" (Universal-BSM Records, 2011)
(Produced by Adam Anders & Nathan Chapman)

This Australian trio packs a big punch, with plenty of uptempo country-pop, ranging from catchy anthems like "Kick It Up," which opens the album, to softer acoustic weepers like "He Used To Love Me" and the Fleetwood Mac-ish "Take It Back." A couple of songs seem overly formulaic, like the thudding, rock-flavored "Rock The Boat" and the glossy title track, "Wrapped Up Good," (sure to be a hit, if I don't like it...) but several others are pretty catchy. There's even a bit of swing and twang, heard on "I'm Not Done With You Just Yet" and "Cannonball," and "If You're Gonna Love Me" seems like a pretty catchy, chartable tune. I can see these gals making a dent here Stateside, particularly among fans of Gretchen Wilson and the Dixie Chicks -- we'll see what the future brings!


Brian McComas "Brian McComas" (Lyric Street Records, 2003)
(Produced by Leigh Reynolds & Leon Medica)

I dunno why, maybe I was just in an irresponsibly good mood, but for whatever reason, I liked this album a lot. Beyond the relentlessly formulaic, pop-drenched single, "99.9% Sure," it turns out that this McComas fellow is actually one of the best traditionally-oriented singers in Nashville today. Yeah, this album is full of smooth, high-gloss production, but it's also got one song after another that seems destined for major radio airplay. Most surprising of all are McComas's understated, no nonsense vocals -- although he cites poppy Paul Overstreet as one of his early inspirations, there's also a pleasant hint of Merle Haggard's curling growl that comes out from time to time, and for the most part, the songs on this album are equally plain, and un-high-falutin'. The disc drags on a couple of tunes, notably the obligatory "issue" song: "Sixteen Again" (which deals with drunk driving) and the songs with more high-tech arrangements, such as "Never Meant A Thing," or syrupy ballads like "I'll Always Be There For You." But if he can knock out a few more simple heartsongs like "You'd Have Never Said Goodbye," I'll stick with this guy. There may be hope for Nashville after all!


Brian McComas "Back Up Again" (Katapult Records, 2006)
(Produced by Brian McComas)


Jeremy McComb "My Side Of Town" (Parallel Records, 2008)
A good set of independently produced commercial country...


Jeremy McComb "Leap... And The Net Will Appear" (McComb Over Records, 2011)
(Produced by Jeremy McComb, Tim Lawtner & Rusty Milner)

Independently released but very plausibly commercial, this six-song set should serve as a good demo disc for McComb's budding Nashville career... It's got the right formulaic mix of relentless rhythmic buildups, bright, rock-tinged power chords and intertwined tinkly piano and twangy guitar... I mean, really, this sounds like stuff you'd hear on the radio day in and day out, perfectly crafted and hitting all the marks. Of course, McComb's been around the block and had the brass ring dangled in front of him before (his previous album, My Side of Town, was semi-major label, but didn't go anywhere, hence the self-released EP...) so it may be a while before his name becomes a household word. But you never know -- it could be soon. He's certainly got the chops and he knows how to craft a tune that any Nashville star could take to the top of the charts. Keep your eyes on this kid.


Dan McCorison "Dan McCorison" (MCA Records, 1977) (LP)
(Produced by Chris Hillman)

The first solo album and biggest commercial success for singer-songwriter Dan McCorison, who came out of Colorado's booming indie-billy country scene, having previously played in the popular hippie twang band, Dusty Drapes & The Dusters. This album was recorded with help from producer Chris Hillman, who brought in some top LA country talent, including guitarist James Burton and Emory Gordy, Bernie Leadon and steel player Al Perkins. The record was promoted as a mainstream country album, though the single, "That's The Way My Woman Loves Me," barely cracked into the Billboard Country Top 100. Still, McCorison was able to get work as a session player in LA, and was part of Al Perkins' usual suspects crew. He's also self-released several indie albums over the years.



Charlie McCoy - see artist discography



Neal McCoy - see artist discography



Mindy McCready - see artist discography


Scotty McCreery "Clear As Day" (Mercury Nashville/19 Recordings, 2011)


Scotty McCreary "Christmas With Scotty McCreery" (Mercury Nashville, 2012)
(Produced by Mark Bright)

The deep-voiced Mr. McCreery also plays it safe with a set of Chritsmastime standards; the nice thing here, though, is that he also keeps it country. There's twang in his voice and a healthy bit of bluesy country as well... If you enjoyed Joe Nichols' or Alan Jackson's holiday albums, you'll probably dig this one too. Recommended!


Scotty McCreery "See You Tonight" (Interscope Records, 2013)



Mel McDaniel - see artist discography



Ronnie McDowell - see artist discography


Pake McEntire "The Rodeo Man" (O Cross Records, 1980) (LP)


Pake McEntire "Too Old To Grow Up Now" (RCA Records, 1986)
(Produced by Mark Wright)

Why, yes, that is Reba's brother, and yes, he did have several hits at the time. Near as I can figure most of these songs were released as singles first, and the LP came later, after he hit the charts. Now here's the kicker: Pake (short for "Pecos") was actually pretty good! This is nice melodic, upbeat, guitar-based country pop, with one swell steel-drenched weeper, "Heart Vs. Heart," that closes the album out. (A duet with Reba, as well? Not sure... it doesn't sound like her and there's no credit on the song, but she does sing on this disc...) Anyway, this is an enjoyable record -- even if there are only eight songs on it -- and McEntire's lighthearted, affable persona makes it clear this project was built on talent, not nepotism... In fact, I'd almost say if Pake wasn't related to Reba, he might have had a longer and much more successful career.


Pake McEntire "My Whole World" (RCA Records, 1988) (LP)


Pake McEntire "And They Danced" (O Cross Records, 2003)


Pake McEntire "Your Favorites And Mine" (O Cross Records, 2005)


Pake McEntire "Singin' Fiddlin' Cowboy" (O Cross Records, 2007)


Pake McEntire "The Other Side Of Me" (2008)



Reba McEntire - see artist discography


Parker McGee "Parker McGee" (Atlantic Records, 1976)
(Produced by Kyle Lehning)

Consider this one a warning, rather than a recommendation... Although recorded in the Nashville orbit, with Music City session players such as Doyle Grisham, Kyle Lehning and Bobby Thompson sitting in, this is '70s soft-pop in the extreme, of a Dan Seals/Paul Davis variety. Airy, gooey, sappy, synthy and soft-headed -- just the kind of "lost gem" fans of 'Seventies AOR might be looking for, but if like myself you saw the country talent in the liner notes and thought it might be worth a whirl, don't bother. Very little twang here, just a couple of tracks on Side Two with some wispy pedal steel, but mostly just '70s style soft pop.



Tim McGraw - see artist discography


Mark McGuinn "One Man's Crazy" (Blue Flamingo Records, 2005)
(Produced by Mark McGuinn, Jim Foster & Don Kerce)

An odd release... This is the follow-up to McGuinn's self-titled album, an indie album that yielded an unexpected Country chart-topping single. McGuinn's clearly trying to make it as a Nashville songsmith -- this disc is packed with musical formulae and gimmicky songs. The best of these is perhaps "115 Pounds," in which the narrator's health problems are all explained by his having lost his girlfriend (the 115 pounds in question...) The thing about McGuinn's bid for country stardom is that he's such a square peg -- he's a beret-wearing hipster with a so-so voice... But you can see why it might work. I guess the best way to look at this album is as a songwriter's calling card; be interesting to see how many of these songs wind up on other people's albums someday...


McHayes "Lessons In Lonely" (Universal South Records, 2003) (Unreleased-?)
The echoes of western swing and Buck Owens-style West Coast country give these guys a bit of traditionally-oriented, alt-country street cred, but the rumbly-voiced bass-heavy love ballads are pretty drippy and Nashville. This disc is alright, though, particularly for a band who hit the contemporary country charts... it's not amazing, but there's certainly lots worse. (Note: apparently this album was shelved after a couple of singles were floated on the Country charts, so it was never really released... Oh, well.)


Madison McKenzie "A Part Of Me" (MadiMMusic, 2013)
(Produced by Bob Bullock)

It was inevitable that an artist as singular and as successful as Taylor Swift would breed a few imitators, and newcomer Madison McKenzie, a sweet-voiced gal from Illinois, is surely one of the top contenders in this new wave of country confessionalists. Like Swift, she pens songs that sound like a young girl's diary entries, full of half-spoken lyrics and ramblings about love, infatuation and mild recriminations, a distillation of teenage solipsism, buoyed by insistent pop-country arrangements. She also has a nice, naifish voice, the picture of plain-spoken sincerity and youthful self-assurance, sounding like Swift did on her first album, though perhaps with more of a conventional verse-chorus-verse feel. She's paired up with veteran producer Bob Bullock, an industry pro who's worked with stars such as Reba McEntire and Shania Twain, who provides McKenzie with a slick modern Nashville sound, not terribly original, but it fits in nicely with the times. I'm not sure if there's room in the charts for two Taylors, but this gal has a good voice and may find success as she finds her own individual voice. Still, if you're into the style, this could be worth checking out.


Terry McMillan "I've Got A Feeling" (Step One Records, 1993)
Harmonica player Terry McMillan was a key member of Eddy Raven's early '70s band, and became a popular session player for the rest of the decade... He had one low-charting single in 1982 that preceded this solo album, but this album failed to chart, as did his gospel album a few years later.


Terry McMillan "Somebody's Coming" (Giant Records, 1997)
A gospel country album...


Mac McAnally "No Problem Here" (Ariola Records, 1978)
The second album of songwriter/producer Mac McAnally, who started out as a session player in the Muscle Shoals roots/R&B scene and moved into the upper strata of Nashville country. This disc is a mix of gooey, late '70s Top Forty AOR and folk-ish countrypolitan ballads...


Scott McQuaig "Scott McQuaig" (Capitol Records, 1990)
The lone album from this hat act hopeful... Two singles fell short of the Top 40... and I guess that was all she wrote.


Scott McQuaig "I'm Still Falling" (Self-released, 2012)
...well, not quite! Mr. McQuaig wrote to inform me he's gone back to recording, and put out this indie album, which apparently has a hefty dose of twang that may please his old fans.


Jason Meadows "Jason Meadows" (Baccerstick Records, 2007)


Jason Meadows "100% Cowboy" (Baccerstick Records, 2007)
(Produced by Nicky Pellegrino)

The second album from a second-place runner up on the Nashville Star TV talent show... Predictably, there's a lot of Nashville formula at play here... There's plenty of shameless, goofy, macho-man pandering on here, from the rednecky title track to the Southern rock-ish follow-up, "Country As A Dirt Clod." Sometimes he hits the mark -- those songs are about on par with what Montgomery Gentry and dudes like that are making these days, and the sappy divorced-daddy weeper "18 Video Tapes" could be a credible radio hit as well (Daddy, who has to go away now, makes a bunch of videotaped life-lessons to tell his son how to be a man and play baseball well... Sniffle.) Meadows is less sure on the non-novelty numbers, though: the romantic ballad, "Fever," is an album low point, likewise the lackluster "Farm Girl." Meadows does a good imitation of George Strait on "San Antone Alone," but when he has to go down below the surface, the emotional core doesn't really seem to be there. He makes all the right moves, but whether he'll move country fans is still an open question. worth checking out, I guess, but you might as well just wait for Toby Keith to put out a new album.


Ken Mellons "Ken Mellons" (Epic Records, 1994)
(Produced by Jerry Cupit)

Ya wanna know why you never hear from Ken Mellons anymore? Well, it's because he's too dang country for country, sounding an awful lot, on one song or another, like John Anderson, George Jones or Hank, Jr... There's plenty of twang on here, too, with sorrowful pedal steel, thumping drums, plinking piano fiddle, and tons of chicken pickin' guitar... Hey, where are the wimpy keyboards and goopy, gelatinous power ballads?? How the hell do you expect to have a hit when you sound like this? Well, Mellons actually did do pretty well with this disc -- the true-country anthem, "Jukebox Junkie," hit the Top Ten, though nothing else he did came even close. To his credit, Mellons didn't try to have a hit playing music he didn't believe in, and for folks who appreciate a good, old-fashioned honkytonk weeper, this is a pretty good album. Check it out!


Ken Mellons "Where Forever Begins" (Epic Records, 1995)
(Produced by Jerry Cupit)

Another fine, first-class, rompy-stompy modern honkytonk album, with plenty of pedal steel and some nice, wicked picking that keeps things lively from start to finish... Even on the slow numbers, Mellons shows his roots, and this is a surprisingly strong record, considering where and when it was recorded. He still sounds like John Anderson, and he still tips his hat towards ole' George Jones. Jones returns the favor with a cameo duet on the pun-laden, whiskey-soaked "He'll Never Be A Lawyer" (which in the 1970s would have been subtitled "Because He Can Never Pass The Bar...") What can I say? This guy was pretty fun... If you like things twangy, his records are certainly worth tracking down.


Ken Mellons "The Best Of Ken Mellons" (Curb Records, 2001)
Strangely enough, this is not actually a best-of set drawing from his Epic albums... It has "Jukebox Junkie" on it, but the other songs are new material. Go figure.


Ken Mellons "Sweet" (Emergent Records, 2004)


Tim Mensy "Stone By Stone" (Columbia Records, 1990)


Tim Mensy "This Ol' Heart" (Giant Records, 1992)


Tim Mensy "Tim Mensy" (PJM Records, 2002)



The Mercey Brothers - see artist discography


Jo Dee Messina "Jo Dee Messina" (Curb Records, 1996)
(Produced by Tim McGraw & Jo Dee Messina)

Can they really make for-real country singers up in Massachusetts? Sure, why not? Jo Dee Messina's debut was pretty glossy, but all things considered, it has its true country moments. She's a relatively rough singer (which, for me, is a plus), even if she's aiming for a high-tech, super-produced sound, she's able to inject a little grit into some of the songs. It's kind of like a mix between Tanya Tucker and Sheena Easton -- of course, if she follows the established Nashville pattern of starting out rootsy and winding up pop, Messina doesn't leave herself much room to work with -- this disc is flat-out pop from start to finish. What will probably change is her level of control over the sound, and the smoothing out of the weak points in her production. This disc has a couple of highly effective pop tunes, notably "Heads Carolina, Tails California," but the production on most of these tracks is pretty rickety... Her partnership with co-producer (and fellow famous person) Tim McGraw has a growing curve to climb, that's for sure... Still, all in all, not a bad debut.


Jo Dee Messina "I'm Alright" (Curb Records, 1998)
(Produced by Tim McGraw & Jo Dee Messina)

The good news is, Messina and McGraw definitely works the kinks out of their production approach -- this is a much stronger pop album than her first release, with only a couple of clunkers, prudently packed away at the album's end. Otherwise, they've got it nailed. Yeah, this is very glossy and high-tech, but it's also very effective -- the sound is tight and compact, there are none of the blemishes and empty spaces of the first album, yet while the sonic space is filled to the brim, it doesn't feel cluttered or forced. Also, it's interesting that in crafting a tighter pop sound, they actually got more country, not less: the pedal steel is used to smooth and complete the sound, and it's used very well on most songs. On a certain level, the cooptation of "country" instrumentation amid such a garish high-tech sound is a little insidious, but I gotta admit this disc showcases the style better than most. It's worth checking out.


Jo Dee Messina "Burn" (Curb Records, 2000)
(Produced by Tim McGraw & Jo Dee Messina)

Different pieces of the puzzle fall into place here... The brash pop production is a bit too aggressive and cluttered; this time around it's getting in the way, and it's much more difficult to make the case that this is in fact "country" music. But her vocals are much stronger and more fluid... That may be pulling her further from country roots, but ya still gotta give Messina her props as a singer. True country fans can pretty much write her off at this point, though: she's gone Pop, with a capital "P," all the way. Plus, all the TV-talk show psychobabble self-help, self-affirmation lyrics are fairly tiresome. The poppification was an artistic downward turn, as far as I'm concerned, even if it was her ticket into the big time. I will reluctantly admit, though, that the power ballad duet with Tim McGraw (who's still producing her albums) is a pretty effective pop song.


Jo Dee Messina "A Joyful Noise" (Curb Records, 2002)
A bright, glossy, strings'n'sleighbells commercial set, but at least she keeps things a little bit country, moreso than, say, Clint Black or Martina McBride on their pop-vocals Santa outings. Messina sings all the same old Christmas standards, but she really seems to throw herself into it, with a smile and a bounce in her voice that's pretty darn cheerful. Just as well that she doesn't try to add new material to the Christmas canon, since the the title track and the one other new song, "Keep The Faith," both at the end of the album, are simply dreadful... and don't seem to have a holiday-specific message. Other than that, though, this is a good album, for the style.


Jo Dee Messina "Greatest Hits" (Curb Records, 2003)
Not bad! This disc covers her first three albums, with a couple of new singles added at the end, and a video track with Tim McGraw. Messina's okay, at least in relation to her contemporaries, her version of half glossy/half rootsy music ain't that bad. She pretty consistently includes pedal steel and other "country" signifiers in the mix, and a relatively rural vocal style, framed by an upbeat pop sensibility. Some of the songs are a bit wordy, and take a while to get off the ground, but she's good at carrying a chorus, and these songs are fairly catchy. She also seems to like Phil Vassar as a songwriter: three of these fifteen tracks were written or co-written by him.


Jo Dee Messina "Delicious Surprise" (Curb Records, 2005)


Jo Dee Messina "Unmistakable Love" (Curb Records, 2010)


Jo Dee Messina "Me" (E-One Records, 2014)


Dick Miles "The Last Goodbye" (Capitol Records, 1968) (LP)
(Produced by Kelso Herston)

Wow... Well, if you like good, old-fashioned, cheerfully morbid cornball country recitation songs, then this album is for you. Dick Miles had a few modest successes as a songwriter before cutting his own lone hit, "The Last Goodbye," a recitation song that hit #17 and led to this album getting made. He delves deep into the recitation genre, with several car-accident narratives, one about a mother's tough-love ("The Touch Of Her Hand," which includes getting spanked with a belt as well as an approving pat on the head) and "The Runt," a real doozy about how a little kid who escapes a lifetime of bullying by running out into traffic, "My Last Two Tens," about a homeless man who leaves a $20 tip for the poor guy who has to dig his grave for him, and "Cap'n," a weeper about a brave, loyal dog who saves a man's son by pushing the child out of the way of an oncoming truck... The track even includes voiceovers by a kid calling the dog's name. And, oh boy, does God get mentioned a lot! The Vietnam War also gets a mention in "The Troubles My Little Boy Had," adding a little historical relevance to this super-corny corn-fest. Red Sovine would be proud.


Dean Miller "Dean Miller" (Capitol Nashville, 1997) (LP)
(Produced by Gregg Brown)


Dean Miller "Platinum" (Koch Records, 2005) (LP)
(Produced by Dean Miller)



Jody Miller - see artist discography


Mary K. Miller "Handcuffed To A Heartache" (Inergi Records, 1978) (LP)
(Produced by Vincent D. Kickerillo)



Roger Miller - see artist discography



Ronnie Milsap - see artist discography



Billy Mize - see artist discography



Katy Moffatt - see artist discography


Ashley Monroe "Like A Rose" (Warner Nashville, 2013)
(Produced by Vince Gill)

This album's a neotrad dream: great stuff. Ms. Monroe is the most Dolly-licious gal to make it in the Nashville mainstream since Elizabeth Cook a few years back. This set is resolutely Parton-esque, and every bit as rich and rewarding as you'd hope it would be. There are plenty of twangy ballads, as well as a few novelty songs with surprising bite, such as "Weed Instead Of Roses" -- another gem is the Blake Shelton duet, "You Ain't Dolly (And You Ain't Porter)," which harkens back to the glory days when Porter and Dolly recorded one great record after another. Monroe comes from the alt-y side of the street, having collaborated with songsmith Guy Clark and was a member of the rollicking Pistol Annies trio. I sure hope her solo debut does well, because country radio sure needs a shot of real country soul, and this gal's got it. Fans of (old) Dolly Parton or (new) Joey + Rory will definitely want to check this out!


Montgomery Gentry "Tattoos And Scars" (Columbia Records, 1999)


Montgomery Gentry "Carrying On" (Columbia Records, 2001)
(Produced by Jon Scaife & Anthony Martin)

Here's one for the Confederate flag crowd... It took me a while to catch on that this was the name of a duo and not one guy... These beefy good old boys have a sizable Southern Rock streak to 'em... Very poppy, and full of soft-macho posturing, with a profound philosophical dilemma: straighten up my life, or hang out with the fellas down at the bar? Nothing that blew me away here, really, but they do manage to rhyme "drink" and "think" in two separate songs... which is quite an accomplishment, when you stop to think about it.


Montgomery Gentry "My Town" (Columbia Records, 2002)
For those who find Hank, Jr. too incoherent, or Lynyrd Skynyrd too literate, there's always Montgomery Gentry, keeping the world safe for refried southern rock. Once again, the lyrics are pretty weak; the appeal here is really in their rompin', stompin' good ole boy image. This will only work for you if that's what you're searching for.


Montgomery Gentry "You Do Your Thing" (Columbia Records, 2004)
Skillfully produced, softened-up Southern-rockin', electric-geetar country, with an odd mix of anthemic, swaggering machoisms and rather bleak, bummerific lyrics (lots of stuff about feeling the back of daddy's hand, watching the tailpipe of your ex's car, the joys of twelve step programs, etc.). While I'm not really that much in on their musical wavelength (I'd personally go for Humble Pie or the Black Crowes, if I wanted a fix of soaring "Freebird" style guitars...) but I can certainly see the appeal. At least they aren't playing some shiny, sanitized, smiley face yuppie fluff -- their lyrics acknowledge life's hard side and its gritty disappointments, subject matter that's largely been scrubbed off of the squeaky-clean face of modern, navel-gazing Nashville pop. So even with their over-the-top aspects, I suppose MG should be praised for trying, in their own way, to keep things real. One of the album's softer numbers, "I Ain't Got It All That Bad," with guest vocals by Hank Williams Jr, is actually a pretty moving, reflective song, as is the tune that follows, "Talking To My Angel." After the blare and bombast of all the songs that came before them, those two tunes stand out like little gems. Anyway, this disc ain't bad -- worth checking out, for sure.


Montgomery Gentry "Some People Change" (Columbia Records, 2006)


Montgomery Gentry "Back When I Knew It All" (Columbia Records, 2008)


Montgomery Gentry "Something To Be Proud Of: The Best Of 1999-2005" (Columbia Records, 2005)


Montgomery Gentry "For Our Heroes" (Cracker Barrel Records, 2009)


Montgomery Gentry "Hits and More: Life Beside A Gravel Road" (Columbia Records, 2010)


Montgomery Gentry "Rebels On The Run" (Average Joe's Records, 2011)



John Michael Montgomery - see artist discography



Melba Montgomery - see artist discography


Justin Moore "Justin Moore" (Valory Music, 2009)


Justin Moore "Outlaws Like Me" (Valory Music, 2011)
(Produced by Jeremy Stover)

A strong set of Nashville-country bad-boy "outlaw" songs. While acts like Montgomery Gentry will toss in a redneck honkytonk number or two just to keep things real, Justin Moore recorded a whole album of hard-drinkin', hard-lovin', gun-totin', truck-drivin', guitar-heavy twang tunes, and he sings them with a gusto and sense of playfulness that brings Brad Paisley to mind: he might be posturing, but he makes it sound fun. After a while the Paisley vibe gives way to more of a Charlie Daniels feel (particularly in the vocals), and while this album has momentum, Moore might want to switch it up a bit and try some new sounds in the future, to keep things fresh. Highlights here include the sentimental "If Heaven Wasn't So Far Away," where he dreams about visiting loved ones who have passed away as though it were a day trip to Florida (and saying "hey there" to Hank Williams and Janis Joplin while he's in the neighborhood...) It's an effective novelty-gospel number, although one of the ideas -- seeing his cousin John who was "left behind in Viet Nam" -- rings a little false: it seems unlikely that the twenty-something Justin Moore would have have any memory of a guy who died in a war that ended over thirty-five years ago. Historical nitpicking aside, this is a good record for the style... Mr. Moore sounds more gritty and authentic than a lot of chart-toppers who wave the flag or toss in a tough-guy tune just to balance their demographics. This ain't Waylon or Willie outlaw, but for modern-day Nashville, it ain't bad.


Kip Moore "Up All Night" (MCA Nashville, 2012)
I guess this guy's in the Nashville orbit, but he sounds like more of a roots-rocker, kind of in a John Mellencamp/John Haitt kind of mode. Certainly mellower and more circumspect than a lot of contemporary country stuff... Lots of shimmery, echoing guitars and mid-tempo ballads, that kind of thing. If you like country Top 40 but would like a little change of pace, this could be a good option. Moore came out swinging on this one: three songs, "Somethin' 'Bout A Truck," "Beer Money" and "Hey Pretty Girl" all hit #1, and he's also done well as a songwriter: Thompson Square covered two of his songs on their debut... I'm guessing the future looks good for this guy... Time will tell!


Lathan Moore "Love In Your Life" (Blue Steel Records, 2010)
(Produced by Rick Holt & Norro Wilson)

Independently produced would-be Top Forty twang... Moore has a robust, good-ole-boy type voice, reminiscent of any number of country dudes in recent years... He sings rompy-stompy thumpers and ballads, too, touches on some of the usual topics -- drinkin' and losin', small-town America, honoring the military, etc. -- and although he's not totally distinctive, he's likable. One thing in his favor is that this is an indie album, so there isn't that whole mega-budget, ginormous Tim McGraw-style production sound; for all the obvious Top 40 aspirations, this album has kind of a back-to-basics, retro feel, more 1990 than 2010, and depending on your point of view, that could be a pretty good thing. Could he be the next Dierks Bentley? Who knows? Stay tuned!



Allison Moorer - see artist discography


Craig Morgan "Craig Morgan" (Atlantic Records, 2000)


Craig Morgan "I Love It" (Broken Bow Records, 2002)
Nice voice, unremarkable album. I guess you could consider Morgan as an amiable post-millennial equivalent of capable second-stringers like Del Reeves or Bobby X. Lewis. He doesn't suck, but he certainly won't blow you away.


Craig Morgan "Little Bit Of Life" (Broken Bow Records, 2006)
(Produced by Craig Morgan, Phil O'Donnell & Keith Stegall)

Like Hank Williams, Jr., Aaron Tippin or Travis Tritt, Craig Morgan has an amazing capacity to latch onto some of the most shamelessly pandering, in-your-face, everyman/redneck dude novelty material, and sing it like it was gospel verse. This disc is packed with so-called high concept hits, from "Tough" (about a man's wife who keeps her chin up while dying of cancer) and "Sweet Old Fashioned Goodness" (where smalltown life is the answer to all the problems caused by "bureaucrats, diplomats and scientists") to "The Ballad Of Mr. Jenkins" (where the beer-pouring narrator sticks up for a nasty old redneck drunk who turns out to have more depth than we might imagine... and who also turns out to be the bartender's daddy's ghost!) and "International Harvester," an over-the-top, super-silly anthem, pitting some mythical, macho John Deere-driving backwoods rebel against all them uppity, pushy cityfolk who wander off the Interstate. Then, of course, there's the catchphrase-heavy swagger of the title track, a goofy let's-party tune that'll probably cruise up the charts the same way as his '05 hit, "Redneck Yacht Club." If you don't take it all too seriously, I guess it's kinda funny... But it's the folks who do take it seriously that ya kinda gotta wonder about. Anyway, this is well-crafted material from the Nashville hit factory, and I'm sure it'll grab the ears it's looking to grab. Nothing super-memorable from my point of view, though.


Craig Morgan "That's Why" (BNA Records, 2008)


Craig Morgan "Greatest Hits" (Broken Bow Records, 2008)



George Morgan - see artist discography



Lorrie Morgan - see artist discography



Gary Morris - see artist discography


Morrison-Williams "Morrison-Williams" (Palo Duro Records, 2005)
No, not Jim and Hank, but rather Shayne Morrison and Clint Williams, two Texas fellas who were previously in the band Perfect Stranger, which had a Top Ten hit with "You Have The Right To Remain Silent," back in 1995... Morrison was a founding member of that band, while Williams joined a few years later, and their creative partnership has continued over the years. I always kinda liked Perfect Stranger -- the band never seemed too stuffy or pretentious -- but I have to admit I found this album to be a little grating. Too much reliance on tin-toned, heroic electric guitar leads, and too much of a rock'n'roll feel for me... Then again, maybe it's just 'cause I was listening to the record before I'd had my morning cup of coffee... Anyway, even though this disc didn't wow me, I think that longtime fans of Perfect Stranger will not be disappointed... It's got the same classic country-rock sound as their albums, just a bit less of a twangy country feel, which is probably just fine for some of y'all... Worth checking out if you liked these guys the first time around.



Johnny & Jonie Mosby - see artist discography


Joanna Mosca "Joanna Mosca" (Dolce Diva Records, 2009)


Joanna Mosca "Keep On Going" (Dolce Diva Records, 2010)


Joanna Mosca "Let It All Begin" (EP) (Dolce Diva Records, 2012)


Dude Mowrey "Honky Tonk" (Capitol Records, 1991)


Dude Mowrey "Dude Mowrey" (Arista Records, 1993)


Dee Mullins "The Continuing Story" (Plantation Records, 1969)
(Produced by Shelby Singleton)

If you like bouncy country novelty songs, corny recitations and goofy Vietnam War-era topical songs, this one's got 'em all! The epitome of scattershot, see-what-sticks novelty-songization, this disc includes gems such as "I Am The Grass" (a first-person narrative, sung from the perspective of the lawn covering a cemetery plot); "The Continuing Story Of The Harper Halley PTA" (yes, indeed, a sequel to Jeannie C. Riley's hit, recorded for the same label); "War Baby," a semi-muddled song tying the benefits of the post-WW2 GI Bill to the patriotic efforts in Viet Nam, and "The Big Man," about a guy who was so full of himself he challenged God to prove who was stronger, with predictable results. Watch out for that lightning bolt! There are also a couple of melodramatic cheating songs about small towns and big rumors, all of it worthy of Porter Wagoner at his corniest and most over-the-top. The album's highlight might be "Beers," an endearing, nostalgic Tom T. Hall song about teenage drinking, which has the odd quality that no one suffers or is punished for enabling the underage boozing -- not the kids (who grow up okay, no car crashes or tragic DUIs) or the liquor store owners, who are praised for kindly turning a blind eye and letting the kids have their fun... Mullins, whose vocals remind me of Wynn Stewart, only recorded this one album and a few random singles. He didn't go very far, racking up a few singles in the Back Forty, but this record is certainly a classic of sorts... Country kitsch all the way!



Michael Martin Murphey - see artist discography


David Lee Murphy "Out With A Bang" (MCA Records, 1994)
(Produced by Tony Brown)

The debut album by this Illinois-born country rocker features an amiable, toned-down Southern rock sound, not unlike Marty Stuart's neo-billy offerings, although Murphy is clearly a much better singer than Stuart. This disc includes his biggest hit, the chart-topping "Dust On The Bottle," an uptempo tune which cleverly turns the old "dust on the Bible" lyric on its head. Murphy's good-natured bad-ole-boy lyrics have a naughty little whiff of rowdiness, though the album itself is pretty restrained. Doesn't bowl me over, but it's fun enough, and more soulful than much of what Nashville has to offer.


David Lee Murphy "Gettin' Out The Good Stuff" (MCA Records, 1996)
This one's a keeper, a solid album from start to finish. Murphy plays things just right on both the hard-edged material and on the softer side. He fronts as an outlaw, but doesn't go overboard with it, sounding a lot like early-vintage Steve Earle. The weakest song on the album is the rock-tinged title track, but on the subtler "Born That Way," he sounds like a free spirit without seeming like a poseur... The non-outlaw songs are even better: the rueful, windswept "Breakfast In Birmingham" is a real doozy of a sad song. A very strong record, definitely worth checking out.


David Lee Murphy "We Can't All Be Angels" (MCA Records, 1997)
(Produced by Tony Brown)

Bouncy, cheerful, brightly produced, rock-tinged country... not bad for the commercial side of the street. Here he seems to take his cues from Rodney Crowell or Marty Stuart, in their more rockabilly/Texas shuffle moments. Quite pleasant and inoffensive; easy on the ears. Not bad.


David Lee Murphy "Trying To Get There" (Audium Records, 2004)
(Produced by David Lee Murphy & Kim Tribble)

This opens with a clattersome blast of Southern-tinged roots-rock, replete with whiffs of John Cougar Mellencamp, Bryan Adams and The Black Crowes... It's not my cup of tea -- a little too loud, cluttered, and busy-sounding, and the songs are kind of on the wordy side... But I can see the appeal. Then Murphy gets more conventional, with some slower, nostalgia-drenched, formulaic country tunes, such as the album's title track, stuff that may be more radio-friendly and accessible to the non-macho soft-country crowd. I'm still not wild about his voice, but fans will be pleased to hear him back in action again. Country name-dropping tune: "Ghost In The Jukebox" name-checks Hank, Lefty and George Jones. Too bad the song itself is so rock-oriented. Egregious, naked swipe of someone else's idea: "Mama's Last," which is pretty much just "Mama Tried" with a sloppy facelift. Whatever.


Kacey Musgraves "Same Trailer, Different Park" (In The Black Records, 2013)
(Produced by Kacey Musgraves, Luke Laine & Shane McAnally)

This winsome, brash Texas lassie has gotten a lot of attention for being a new Top Country bad-girl, ruffling the sensibilities of many mainstream country fans, particularly with her Top Ten single, "Merry Go Round," which is an acerbic jab at small-town life... Usually, modern-day Nashville offers a rose-colored, super-mythologized version of small-town America, where guys spend their teen years driving around the backroads in their pickups, hanging out with their buds and wooing their high-school sweethearts, but Musgraves takes a more critical, real-world approach, talking about people with sad marriages and broken dreams. It's not quite the standard formula, and some folks saw it as a direct attack on the Nashville establishment. I'm not sure I'd go that far -- maybe people are taking this stuff too seriously -- but I think it's interesting that Musgraves is being considered so mainstream and so "country" to begin with... She sounds more like a contemporary folkie to me, a topical and contemplative lyricist, roughly in the Carrie Rodriguez or Todd Snider mode, although with bigger, more ornate production. While she does turn some nice lyrical phrases, there's a precocious, high-schoolish/collegiate cleverness to her work and I have to confess that while I find the Nashville-manufactured small-town myth to be noxious, I also find her satirization of Middle America to be a little too obvious, the sort of stuff that forlorn teenagers waiting to move out of their parents' houses scribble away in notebooks or post online... I mean, Malvina Reynolds already skewered the 'burbs fifty years ago and though I still enjoy "Little Boxes" as a protest song, now that I'm all grown up I can see that the critique has its limitations; I guess I just don't like looking down on average people just for being average, especially seeing as how I am one myself. Still, Musgraves has a delightfully fresh presence, at least in the context of modern Nashville country: Music City needs some new blood and some fresh ideas, and this gal seems well poised to provide a little bit of both. Definitely worth checking out -- I'm curious to see where she goes from here.




Commercial Country Albums - Letter "N"



Hick Music Index



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